Library catalogue

The Covid-19 pandemic has a crushing effect on the work of international cultural relations. At the Online Members Assembly on 4 June 2020, EUNIC members pledged to continue to strengthen European cultural relations. They published a statement to call to mind the importance of cultural relations and their value for friendly and peaceful foreign policy, and to emerge from this crisis as unscathed as possible. EUNIC members call on all actors to put cultural relations at the core of our efforts to combat the rippling effects of the coronavirus outbreak, to protect culture from budget cuts in the post-crisis financial frameworks and EU budgets for culture to be substantially increased.

On behalf of European Cultural Networks, platforms and cultural organisations, Culture Action Europe wrote a joint letter on the 20th of March, 2020 to the Commissioner Gabriel and Members of Directorate General for Education, Youth, Sport and Culture (DG EAC). The letter lists our proposals regarding the ways to cope with the consequences of COVID-19 on Creative Europe and the European Cultural and Creative Sectors.

Museums have been particularly affected by the corona pandemic, with nearly 90% of them, or more than 85,000 institutions worldwide, having closed their doors during the crisis. The impact of these closures is not only economic, but also social. Faced with this situation, UNESCO launched a study to assess, on the basis of contributions from states and museum professionals, the impact of COVID-19 on museums and museum institutions. This initiative also seeks to understand how the sector has adapted to the constraints imposed by the pandemic and to explore ways of supporting affected institutions in the aftermath of the crisis. This report presents a first assessment of the impact of COVID-19 on the museum sector.

This document’s central objective is to look critically at the current data and knowledge in relation to the creative and cultural workforce (CCW1). While there is a wealth of data in this field which cover pan-European, national and regional approaches, the objective of this report is not to simply replicate existing available data but to critically discuss the approaches (and resulting data) that are currently being collected (at various levels from European to regional) and assess the knowledge they provide for the DISCE project. Overall, the report addresses some key questions about who gets to ‘be creative’ (McRobbie 2016). We explore who is enabled to participate and who is classified as contributing to the creative economy through their labour. The report brings together a wide range of research on the CCW to document the diverse and at times, contradictory knowledge available on those who are working within and contributing towards the creative economies across Europe

Overview of the recent key trends of the audiovisual sector with data and analysis on television, cinema, vod and home video in 40 countries.

What is online video today, fifteen years into its exponential growth? What started with amateur work of YouTube prosumers has spread to virtually all communication apps: an explosion in the culture of mobile sound and vision. Now, in the age of the smart phone, video accompanies, informs, moves, and distracts us. Are you addicted yet? Look into that tiny camera, talk, move the phone, show us around — prove to others that you exist.